Big Beat Steve

Well, Lover Man and Diagram also are on the "Cool Europe" EP (MGM X282 (US) or MGM EP535 (UK)) but I suppose this not what you are after. They also are on the Fresh Sound reissue mentioned in one of the first posts ni this topic above. But to my knowledge that's it (though I find it hard to believe that the remaining two have not been reissued elsewhere), and if you check out the above NYC Jazz Record Review for the "Jutta Hipp with Joki Freund 1954" (Jazzhus) CD, while this draws from the L&R recordings that the MGM releases also come from, they are not included on that reissue either: See here: http://www.groovecollector.com/mp/jutta-hipp-with-joki-freund-1954/r/115562285/ At least that's what I have come up with. Maybe "Brotherly" is another one that went under another name on other L&R reissues?

How come Chewy hasn't weighed in here yet? :D

Thanks for your kind words, jazzbo. But may I humbly point out that I have no track record at all in educating (not in the literal sense of the word anyway and I am in no position to "educate" others here either . So I cannot take any credit in that field. And I am the first to admit that the more I read on this board the more I realize there is more and more I am not familiar with yet, even in my favorite fields of the music. As for the rest, I've tried to clarify my point so I rest my case. Let's just say THAT page is turned now for me, so "to each his own" (courtesy of Livingston/Evans ).

I take it that the David Meeker document linked by sgcim above has been HEAVILY expanded over his book "Jazz In The Movies". I bought the "New Enlarged edition" (1981 printing, DaCapo) of this book a while ago secondhand and while i did not regret my purchase I must say I was a bit disappointed by the balancing of what movies with jazz credentials he included in the book and what he didn't. His coverage of soundies and shorts from the swing era seemed to be a bit unbalanced (some were in, some weren't, though for the life of it I could not discern any criteria by which one would have warranted inclusion and another one wouldn't) , and I drew a blank with several swing-era movies (both shorts, B-movies and "all-black cast" movies) that were not all-out jazz movies but featured memorable jazz scenes and band appearances within the plot (and not to a lesser degree than many of the later movies he included in the above book that featured only relatively occasional modern jazz appearances or jazz scores within the film - and his entries in some cases even stressed that there was only some slight jazz content). Afterthought: Just checked the online pdf file of the new opus, and while it really has taken on colossal proportions, just a case in point: I cannot find the movie "Juke Joint" of 1947 in there. The music scenes featuring the Red Calhoun orchestra are on Youtube (so seem to be circulating among fans - and the movie itself is listed on the IMDB) and they are a gas! But very, very nice to have this online source available anyway.

OK, I had meant to let this rest (despite the fact that the reply to my post seems to have undergone several mutations ) but so I will weigh in one last time (thanks, Paul and jazzbo, for your comments, BTW - you got me right) in an attempt to clarify this: 1) About that "appreciation": Assuming that pointed reactions do occur and just might have to be reckoned with in certain cases, what reaction is there to be expected to a post that reads like it is all about box sets that are all out to be sold for good money (a point that is stressed several times in the post) but the owner/seller doesn't even remember what they are? So what I said about "appreciation" purely and simply and exclusively referred to the way the appreciation OF THOSE PARTICULAR SETS (and hence of the music contained therein) COULD have been conveyed in such a post as a matter of course by stating offhand which ones it is all about. Not least of all, one should think that this information might have been useful so as to yield more specific replies as to what is likely to be a particularly well-selling item. Nothing more. 2) I just speak for myself. Never pretended (nor aspired to) anything else, and never would. Cannot see where I ever hinted at anything else. So any insinuation in that direction is what is really off base. Nuff said ... (And, Jim R, I certainly did not intend to be rude or condescending but yes, I do speak my mind - including on the subject of "investments for investments' sake". )

In fact you do. Just sayin ... Maybe it would be a good idea to get your selling venture going by raising your appreciation of the music (and of what you have that is supposed to be such a good investment) by actually finding out what you have. Not least of all because I understand there is some margin between sets that some would kill for and sets that are just nice to have. As for where to sell them if you want to wring out the final, the very final bit of money, well, not here apparently ...

That's the"Cool Dogs & Two Oranges" content that is NOT part of the reissue from the Blue Note 10in LP. Or to sum it up another way: Essentially the 50s MGM and Blue Note releases made up the later reissue on "Cool Dogs & Two Oranges" on L&R. Mike Nevard is a separate (co-billed) act on that MGM vinyl - no connection.

How come? I've noticed around here too (not only in more professional big bands of today that you hear in any sort of setting) but also among high school bands that the scores and the general sound are very, very brass-laden. Even when they want to play jazz. And this has been so for decades. The brass seem to carry the sound any time. As if there never is any shortage of competent brass players whereas the reeds ... Maybe I'm one to notice this particularly soon because I'm quite tuned in to the more reeds-oriented swing-era big bands (not that I wouldn't like "progressive" 40s big bands just as well) but still ... It IS strange ...

Not if you regularly came across the entire L&R record catalog in your jazz bins in the record shops when these LPs were current. They often had this kind of play on words.

This was one of the mistitlings I was alluding to in my post. Bruyninckx indiactes both spellings refer to one and the same track and recording and he lists the "Chloe-Patra" version specifically for the L&R LP.

Depends on the language you wish to speak with a French accent ...

This IS difficult indeed, mainly because some titles were recorded several times and some were mistitled here and there. And dates HAVE been mixed up From what I recall offhand (and what seems to be confirm the above), most of the Blue Note LP (6 of the 8 tracks I believe) are on the Cool Dogs & Two Oranges LP (on the L&R label). The "Lost Tapes" recordings aren't all lost. There are a couple of releases (two on the LP and a couple more on the extra tracks on the CD) that were originally issued on Brunswick (some originally credited to Hans Koller IIRC). But they don't duplicate the Bue Note/Cool Dogs.../Fresh Sound releases as far as I can see. As far as I can remember the "Das is Jazz" LP (I have the original at home) again includes the odd Jutta Hipp track from those Brunswick sessions that were originally released on EPs in Germany. Can check later but I think David Ayers has answered the gist of it all perfectly - so these few lines just to confirm what he says and what I'd found out by checking for myself some time ago. BTW, kudos for that excellent review, not least of all for pointing out that German jazz did NOT start with Schlippenbach, Brötzmann, Mangelsdorff (Albert, that is) and their ilk. Far from it. And the earlier ones weren't all "derivative", as DB would have been wont to say ... (at least not more than a good deal of the US output of those days too)

He did play with Paul Butterfield's band. and Little Milton, IIRC, v. early on. What I meant to say is - whatever he did - does this qualify him as one of the BEST EVER in that particular idom? Of all times? Right among the greatest of the great? Somehow I doubt it. Just look at all those really great R&B sax men (leaders and session men alike) who came up through the decades. This sounds more like some PR blurb like they come up with in those "all time great" histories published for the not to historically aware public where out of 100 pages maybe 20 or 30 pages are devoted to whoever was great up to maybe 10 years ago and the remaining 70 or 80 pages are reserved for those who are "great" right now. And this kind of skewed PRESENT-DAY perspective disregards the fact that there were many more who were just as great in THEIR day and who were not forgotten any quicker than those who are perceived to be bigshots now are fairly likely to be forgotten 10 or 15 years from now when their heyday will be over.

No harm or no offense meant. Opinions and tastes differ, you know ... (And of course I suppose you realize my "atypical" reference of Sam Most's Bird, Bud, Monk & Miles LP refers to the fact that it is a NON-flute item? )

I've never been one to like flutes in jazz, find it difficult to stand Bud Shank on flute (though I consider myself a bit of a WCJ fan), can only digest some very early Herbie Mann but found the Bethlehem LPs by Sam Most always very, very enjoyable. Don't know how representative they are of his later work but his "clarinet-esque" (?? don't know how to describe it otherwise) flute work on the one where he alternates between flute and clarinet always was right up my alley. And his Bird, Bud, Monk & Miles LP may be atypical but is fine anyway IMO. RIP

Sounds like a Johnny Smith vs Tal Farlow partisan feud might be in the air as for "guitar chops". Anyway, RIP Mr Smith. Here's another one who's appreciated your music (though admittedly I've pulled out my Tal Farlow Verve albums far more often than your Roost LPsthrough the years)

"Sanborn, one of the best R&B saxophonists of all times ..."?? Yikes! :excited:

Can't recall having ever seen any CANNED wine in shops in Germany, at least not in the usual outlets. Maybe marketed as a sort of gimmick here and there, but beyond that? Wine marketed in TETRA-PAKS has aroused a lot of consternation here when first sighted (though probably not as much as in France, I guess). This has subsided long since but wine sold in Tetra-Paks but has definitely retained a "low-brow"/"cut-rate" image so if THIS is how they want to "democratise" the sale of wine?

Above all it doesn't look particularly Hepburn-ish to me at all, rather like some typical nondescript late 60s-ish selling gimmick using models in what was perceived to be fashionable (and was not unlike the garb worn by certain TV show ballet dancers where orchestras such as this one would often provide the background music) but dated pretty badly and soon was an eyesore in the cut-price bins (and still is today when you have to wade through album cover dross like this in secondhand vinyl clearout sale bins as this kind of cover hasn't even become "cult"-ish enough yet to attract the attention of "easy listening" collectors ).

Senior citizens getting into classic cars? The plight of the classic car scene .... always has been, always will be. Because there are two distinctly different types of senior citizens who are into classic cars: 1) Those who've always been car-minded, who've taken an interest in the cars and mechanicals earlier in their lives, maybe working on then in their job, or who have owned such cars earlier off and on (when they still were just "used cars") and now that more spare time (and money) is on hand they get back to these earlier interests, bringing things full circle. Can be a very fine breed within the hobby and often is. 2) But it also brings in a whole bunch of show-offs who use classic cars as a vehicle to flash their allegedly superior sense of style and individualism and "ways of the world", though they are about as clueless as it gets about what they drive because, of course, they are having ALL the work done on their cars by hired hands (specialists), and if you ask them about details and the specs of their cars at car shows they either just plain don't know or they can't be bothered to engage in any sort of constructive dialog. How do I know? Am still a fair bit away from retirement but bought my first 50s classic car (1955 model) at age 18 and except for a 6-month hiatus at age 24 have owned classic cars from the 50s (and worked on them for better or worse ) for close to 35 years now (so you can do the maths ). And though my cars have been non-US all the time, enough of the US classic car scene is common knowledge these days, particularly if you have a fair number of US car fetichists in your own surroundings within the hobby. As for the list of 9, a curious mixture it is and I wonder what prompted THIS selection exactly: - Model A: At that kind of starting money, expect to have to do some work on the car, and trying to conclude a really good deal you will be given a run for your money by the hot rodding fraternity (who continue to be in search of raw material for their own projects). - Mustang and T-Bird: Depending on the model year, the prices seem a trifle low to me for a car that has not just been tarted up (which might prove disastrous in the long run, particularly to elderly newbies who do not necessarily have the stamina required in this hobby which CAN be prone to defects, cut-outs and breakdowns on ANY old/classic car). - MGB: Run of the mill stuff, and beware of botched examples which just look good on the SURFACE. - Studebaker Avanti: This is no car made by the "BIg Three" where specialists, parts outlets and service facilities abound even for cars THAT old. Parts are harder to come by, specialist knowledge (and patience) is requrired in sourcing certain items when they are needed. In short: BEWARE, senior citizens! This is not for you newbies in the hobby, unless you have enough stamina and a good measure of determination! ;) - Chrysler Windsor: The 1955 was a fine car, but as a starter car for newbies in the hobby who DON'T care to get really involved in that particular model? Ho hum ... See Studebaker (almost). But it sure is nice to see what scribes outside the classic car hobby (or concerned with tables and figures only) blurb about these cars ...

Returned from a 10-day family holiday in Southern France at the Mediterranean coast earlier this week, where during our stay there I had made the rounds at the usual weekly fleamarkets, "brocantes" etc. Yielded some finds for my various collecting obsessions here and there, and one of the fleamarket stalls at last I happened upon a trove of 50s party records that had at least a moderate inclination towards jazz. And so the three 10-inchers and seven EPS shown below (along with six more 50s pop/mambo EPs) became mine for a measly 6 euros (approx. 8US$) altogether. Usual cover wear and very, very dusty vinyl (must have sat in some grain mill basement or so for ages) but they all cleaned up nicely and play well. Ha - FOR ONCE a French fleamarket where you dig out more than just Sidney Bechet or the very occasional Satch/Duke after flipping through loads of vinyl!!

What a pity. Saw him several times from 1990 through approx. 2005 when he was on tour with the re-formed Comets, and it was always an incredible act, considering the average age of the musicians. And Marshall Lytle and Joey D'Ambrosia always were the ones who really pulled it along despite their age even at a time when Frannie Beecher and (the late) Johnny Grande were already economising their efforts and Dick Richards very much was on his last legs by the standards of stage strain. Thanks for great shows, Marshall, and you will be missed even by the much younger and the really young 'uns in the Rockin' Scene!

I dimly remember seeing one or two rare eBay auctions of originals of "In Action" at the time I bought my facsimile reissue (about 10 years ago), and they fetched steep prices (several hundred $).

:tup On a more serious note, though, reports over here had it today that a NEWBORN child in a maternity unit in Poland was diagnosed with an alcohol level of 0.45!!! (no, not 0.045 - really 0.45!) This because the mother who had collapsed SLOPPY DRUNK in public had to be rushed to the hospital to have the child delivered in an emergency before more serious damage was done. The poor newborn is still in critical condition, though. Wonder if that "mother" has a driver's license and whatever she might have been up to at other occasions .. On the actual subject, beats me how ANYBODY can make enjoying themselves at whatever party or public event depend on gulping down alcoholic beverages. Is that really THAT necessary? Can't these characters loosen up and enjoy themselves without resorting to "little helpers" like that? And what's this thing about ruining club/restaurant business? Are there that many who feel they are being sneered at for being "weaklings" if they limit themselves to soft drinks or whatever non-alcoholic stuff whenevery they have to drive? Maybe a reevaluation of the company they're keeping might be in order, then ...

...an original pressing? I'm no expert but it has a red label with the Studio 4 logo on it and a number of XCTV-97116/7. Is that an original? And no VSOP 1 indication anywhere? I have a VSOP facsimile reissue with the original Studio 4 cover art and red label and it says VSOP in several places on the cover and label, so no mistaking there. The numbers you indicate figure on my reissue too and seem to be the matrix numbers for side 1/2. But wouldn't these be uncommonly complicated matrix numbers for such tiny labels of that era? Were there several reissues, maybe? A question to the experts re- "The Message": How does the Xanadu vinyl reissue (Xanadu 126) hold up soundwise compared to the original or other reissues? I have no intention of forsaking my vinyl (it sounds quite decent to me) but am just curious ..